DOCTOR WHO STORY GUIDE
Regular site contributor Chad Moore has begun his own personal journey through the entire series of Doctor Who, starting at the very beginning. Alan Siler watches shows sporadically and reviews in no particular order. Together they will chronicle the entire run of Doctor Who. Use the menu at the left to select a particular story, and the menu to the right to jump to a different page.
"The Smugglers" (4 episodes, 10 Sep 66 - 01 Oct 66)
Written by Brian Hayles
Directed by Julia Smith
William Hartnell - The Doctor
Michael Craze - Ben Jackson
Anneke Wills - Polly
It's sad that "The Smugglers"—the last William Hartnell historical and his penultimate story—is absent from the BBC Archive, save for a few clips. The location footage looks wonderful from the limited production photographs available. The extensive use of various Cornish landscapes and buildings adds a real depth and credibility to the story; the beach scenes, in particular, look wonderful, as do those aboard the Black Albatross. Even the studio interiors of the church and the crypt look exquisite. The authenticity this achieves is essential, especially as "The Smugglers" is Doctor Who's own version of Treasure Island.
Brian Hayles's second script for the series is a fairly simple, swashbuckling tale. But it oozes charm in bucket loads. Yes, there's a fearsome pirate captain with a spike in place of a hand, with underlings who make plenty of aaarhs. There are secret tunnels, a dead pirate's curse and a buried treasure, complete with a cryptic riddle as to its whereabouts. With factors such as these, Hayles knows he can't avoid the clichés of the genre, so he doesn't pretend this is anything else, and accordingly 
provides us with a good old-fashioned escapist adventure. Previous historical adventures were primarily educational; the intent was to inform the audience of a particular culture ("The Aztecs") or a particular event ("The Crusade"). Some stories took a light-hearted approach, applying comedic license ("The Romans") but were all fundamentally a history lesson wrapped in a story. But in "The Smugglers", we've just got a plain old adventure, with the historical setting largely incidental.
The story is filled with magical moments—Pike's interrogation of the Doctor, and the latter's attempts to gain the upper hand (and avoid being tortured) is one such example; the conversation between the Squire, Pike and Cherub as they connive away is another. All of the dialog has a rich feel to it, and there's a wonderfully sparkling exchange between the Doctor and Kewper as they play their card game whilst being held prisoner on the Black Albatross.
As with the previous story, it's hard to believe William Hartnell was ill during the making of this one. He seems as lively as ever, giving a great performance. Whether the Doctor is playing trickery with cards or refusing to leave the villagers because of his moral obligations, he's an absolute delight.
Anneke Wills and Michael Craze continue to impress, making Polly and Ben an excellent team. They're both vibrant and enthusiastic, and have resourcefulness and loyalty rolled into one. I love the scene when they escape from the local gaol by taking advantage of the native superstitions. However, it must be said that Ben's constant moaning about returning to his ship/barracks does grow tiresome after a while. You're having an adventure in time and space, mate—enjoy it!
Michael Godfrey is marvelous, relishing his lines as Pike, and maintaining a ruthless and bloodthirsty determination. Paul Whitsun-Jones is also excellent as the Squire, a corruptible man, but one who won't resort to murder and redeems himself at the end. George A. Cooper as Cherub makes a memorable villain, and John Ringham, although a tad overly theatrical as Blake, makes a good ally. Some of the roles are a bit overacted however, the pirates Jamaica and Gaptooth in particular.
What hurts the story is the complete lack of incidental music—which would have added to the proceedings greatly—its slow pace, and the rather lackluster climax. The resolution is the arrival of Blake and the militia in a "Calvary saves the day" fashion, and the shoot-out isn't as exciting as it might have been. Also the idea that all of the locals assume Polly is a "lad" because her hair's pulled back and she's wearing trousers is laughable! I'm guessing there must have been an outbreak of very poor eyesight back in the 17th century...
These quibbles aside, "The Smugglers" is great fun. It's a rip-roaring, atmospheric tale that, due to its historical setting, benefits from the costumes and location filming. A lovely and endearing story.
"The Tenth Planet" (4 episodes, 08 Oct 66 - 29 Oct 66)
Written by Kit Peddler, Gerry Davis
Directed by Derek Martinus
William Hartnell - The Doctor
Michael Craze - Ben Jackson
Anneke Wills - Polly
Patrick Troughton - The Doctor
One of the most important stories in Doctor Who's history, "The Tenth Planet" marks the end of an era. It features William Hartnell's last appearance as the Doctor, and presents a whole new situation which would be explored heavily over the next two years, namely the 'base under siege' storyline. The serial also introduces the Cybermen, intended by producer Innes Lloyd as a successor to the ever-popular Daleks. In their debut, the Cybermen are mysterious and formidable, and are particularly horrific if you view them as animated corpses. As a race fighting to survive, they have a legitimate reason for wanting the Earth—thus making them all the more believable for it.
Although they have been mocked for their initial design, this is my favorite version of the Cybermen. From the bandages that seem to hold their heads together, to the bare fingers of their hands, and the way in which they speak (a Cyberman opens its mouth, holds it open, and this eerie, electronic sing-song voice comes out of it till he shuts it again), they're very, very creepy. Again, they look like the walking dead and the deadly giants they were meant to be. Not like the metal robots from later stories.
Sadly, due to his ill health, William Hartnell wasn't able to play a greater role in the story, and the Doctor's part was marginalized (he's completely absent from Episode 3, rendered unconscious). That said, however, he does have some classic moments. His indignation when confronting both Cutler and the Cybermen is glorious to behold, with that wonderful line 'Emotions. Love. Pride. Hate. Fear. Have you no emotions, sir?' standing out.
As the story progresses, there is an ominous feeling that the Doctor isn't quite right; he's more weary and frail than he has ever been before. When the inevitable occurs (in the tragically missing Episode 4) the regeneration (or 'rejuvenation') is truly something magical. Can you imagine the confusion and excitement that must have spread through UK households in 1966? The fact that the production team decided to cut straight to the credits without even allowing Patrick Troughton a single word to help establish himself was brave, forcing curious viewers to tune in next week.
Anneke Wills and Michael Craze both give fine performances, although both have some difficult material to work with. Polly's relationship with the Doctor is strong, and she is afforded some nice character-building scenes, notably when she stands up to the Cybermen, and convincing Barclay to help deactivate the Z-bomb. Other than that, she doesn't really do anything at all, besides making coffee and being a hostage. Of the two companions, Ben comes to the fore and is strongly characterized throughout: his remorse over having to kill a Cyberman is excellent. When he says 'You gave me no alternative' it sounds as if he's almost crying. So it is Ben, not the Doctor, that ultimately drives the plot—trying to thwart General Cutler's plan to use the deadly Z-Bomb against the invading planet Mondas, fighting the Cybermen, etc. - and he does a marvelous job.
The guest cast veer wildly between over-the-top caricatures and two-dimensional cyphers, with only Robert Beatty and David Dodimead leaving any lasting impression. The latter, playing scientist Barclay, is very good as a worried man determined to save his planet, even resorting to disobeying his leader. The former, playing the cold and driven Cutler, puts in a good performance even if the characterization seems off: Would a man in his position consider the safety of his son more important than that of the world? It seems highly unlikely that an unstable individual such as himself would be a General if he were.
The Snowcap base makes for an effective and claustrophobic setting, although the absence of any female staff is odd for a story set in 1986 (the future from the point of view of those watching back in 1966). The exterior scenes of the South Pole are very well done, and director Derek Martinus introduces the Cybermen in a memorable fashion at the climax of Episode 1. Like the previous story, "The Smugglers," it all moves along at a rather sedate pace, despite the good direction and model work.
"The Tenth Planet", whilst boasting some good ideas, ultimately fails to achieve its full potential. It's not a bad story by any means, but comes across as a fairly average-to-good one that is salvaged by the Cybermen and the legendary regeneration scene at the end. It's not quite the fitting ending William Hartnell's massively successful, imaginative and truly wonderful era deserved.
"The Power of the Daleks" (6 episodes, 05 Nov 66 - 10 Dec 66)
Written by David Whitaker
Directed by Christopher Barry
Patrick Troughton - The Doctor
Michael Craze - Ben Jackson
Anneke Wills - Polly
"The Power of the Daleks" is one of the all-time great Doctor Who stories, and it's an absolute tragedy that the BBC destroyed all six episodes instead of preserving them for posterity. Everything about this story is wonderful: excellently written, directed and acted. It saw the first great upheaval in the series, and one that left an important legacy—the first time the lead actor had changed. Patrick Troughton was now the Doctor, and I'm sure everyone involved with the program was waiting nervously as Episode One went out. The familiar face of William Hartnell was gone; what would have been disorienting and disconcerting for viewers was the fact that their hero was totally different—not just the actor, but the character as well. Of course, the production team's enormous gamble paid off, but was surely such a television experiment at the time to have had many people scratching their heads.
The new Doctor's initial scenes in the TARDIS are highly ambiguous—this strange man refers to the Doctor in the third person, he never clearly asserts to a bewildered Ben and Polly (and the audience) that he is the same person as before; and this is very annoying on the Doctor's part—he doesn't make the effort to prove who he is. However Patrick Troughton lands on his feet—it's been said that he doesn't really grow into his role as the Doctor for several stories, but there's much that typifies him from the very beginning—there's his slapstick clowning, including his obliviousness when he almost walks into a pool of mercury and then, just as unknowingly, sidesteps it just in time. His recorder playing, listening to a piece of fruit and opening a door so hard the knob comes off in his hand are others (which, after the austere dignity of William Hartnell, would have disconcerted viewers even more!) But Troughton also shows his Doctor's shrewdness, cunning, and his ability to be outraged: all these elements are on display here, and more often than not, his tomfoolery is a deceptive front.
Anneke Wills and Michael Craze are also very successful as the disoriented companions. Polly and Ben are the audience's touchstone; familiar faces who help to carry the viewer through the shocking event that has occurred. There are some interesting parallels to "An Unearthly Child", in both stories it was the man (Ian, Ben) who was aggressive and judgmental, and the woman (Barbara, Polly) who was willing to listen and believe. They have an amazing rapport with Patrick Troughton's Doctor - indicative of the friendship shared by the trio off screen—and their incredulous roles are suitably realistic, mirroring the audience's reaction—if the companions accept the new Doctor, the viewers are more likely to. It also helps that they're both extremely engaging characters—Ben, a cockney lad with a lot of muscle and little patience, and Polly, sweet and gorgeous to look at. Like Steven before them, they're both woefully underrated companions, and I can only assume the reason being that so many of their episodes are lost.
The decision to bring back the Daleks, to remind viewers this still is Doctor Who, was a wise one. Despite some uncredited rewriting on Dennis Spooner's part, David Whitaker's skill shines through. In fact, this is one of the cleverest uses of the Daleks in the series; rather than a "kill the Doctor" or "conquer the galaxy" storyline, this presents them as cunning schemers. Their subservient nature is a fascinating idea, and scenes such as a Dalek serving drinks, and all those "I am your servant" recitations are so unusually different, providing some lasting images, especially Episode Two's excellent cliff-hanger. Of course, being the Daleks, they're up to no good, but their manipulation of the human colonists is wonderfully underplayed. Whitaker's script not only portrays a new side to the Daleks, but it also shows up human failings. An amazing moment is the Dalek's query "Why do human beings kill human beings?" after Bragen orders it to exterminate Hensell. This is a terrific condemnation; killing your own kind is illogical—it's a sorry state for humanity that it takes a Dalek to point this out!
The guest performances are strong, especially Robert James who almost steals the show as the dedicated scientist Lesterson, driven to madness by the results of his ill-fated attempts to improve the colony. Bernard Archer plays the power-hungry Bragen to perfection, and Nicholas Hawtrey gives a brilliantly understated performance as the hapless Quinn, while Peter Bathurst's Hensell is a crusty, stubborn character who is nonetheless a sympathetic one. Then there's Pamela Ann Davy as Janley, a woman who wants power at any cost, but realizes in the end just what that cost means.
The story does have a few dodgy moments, although these are minor quibbles. During the famous "Daleks conquer and destroy!" cliff-hanger (the clip of which thankfully survives) it is clear there are photographic blow-ups in the background, and a few Daleks are going round in circles to look like a great army; and then there's the production line toys. But these shortcomings are inevitable thanks to the paltry budget the BBC afforded the series, and if "The Power of the Daleks" should ever turn up in its entirety - and I hope with all my heart it does—then hopefully these tiny niggles will be accepted gracefully.
Honestly the only real fault I find is in the costuming. The colony's uniforms are dreadful; karate outfits and safari suits aren't very flattering at the best of times - combining the two is just ghastly. But that's all. The rest of the story is wonderful: excellently written and realized. The first introduction of a new Doctor and one of the most interesting portrayals of the Daleks combine to make an example of just how high quality Doctor Who can be. A superb start for the Troughton era.
"The Highlanders" (4 episodes, 17 Dec 66 - 7 Jan 67)
Written by Gerry Davis and Elwyn Jones
Directed by Hugh David
Patrick Troughton - The Doctor
Michael Craze - Ben Jackson
Anneke Wills - Polly
Frazer Hines - Jamie McCrimmon
Best remembered as the last true historical story (at least until "Black Orchid" in 1982) and for the introduction of Frazer Hines as Jamie, who would go on to become one of the most popular and enduring of the Doctor's companions, "The Highlanders" is, unfortunately, one of the weaker entries in the series. That's not to say it's a terrible story by any means as it has a great deal going for it. The most notable being the mix of comedy and drama, which generally works very well. The blend of action and humor adds much to the overall feel of the story, and is particularly reminiscent of "The Smugglers", and one could easily imagine this as a piece of romantic escapist fiction by Robert Louis Stevenson.
Although the plot is rather simplistic, being little more than a case of the time travelers being caught and trying to escape and in the process expose their captors, large parts of it revolve around the Doctor's ability to use disguise and impersonation to pass himself off as everyone from an old washer-woman to a German medical doctor. These disguises demonstrate the diversity of Patrick Troughton's acting abilities and help to add tension to the proceedings, such as the moment where Ben swims ashore to find an English Redcoat soldier on patrol who turns out to be the Doctor! There's also the wonderful scene where the Doctor outwits Perkins and escapes, and I couldn't help but laugh out loud at his "you saucy girl" remark to Polly.
Speaking of whom, Anneke Wills is fantastic, getting her moment in the spotlight. Polly is used to great effect here, being paired up with Kirsty, and getting the better of Algernon Ffinch, with all those cruel "Algy" taunts, which is offset by the young Lieutenant’s redemption at the end, as he arrests Grey and lets the time travelers go. Michael Craze's Ben is terribly underused, except for being captured and taken on board a slave ship. Likewise, it's apparent that keeping Jamie on as a new regular was a last-minute decision as, surprisingly, Frazer Hines has very little to do and tends to stay in the background for much of the tale.
Of the supporting cast, Kirsty is delightfully brought to life by Hannah Gordon; Dallas Cavell as Captain Trask is a sea-dog, in the tradition of Long John Silver, and his over the top performance is a nice contrast to David Garth's gentlemanly villain Solicitor Grey, whilst Perkins is a highly clichéd assistant who's a little simple and doesn't approve completely of his master's work.
Although the story no longer exists in the BBC Archive, Telesnaps reveal that the production values are generally high, and there is little to find fault with here; although the location, whilst appropriate, is somewhat bleak. Historically the story is strong, and war is shown in an accurate light. However it's not particularly gripping and the chance has been missed to see the Doctor encounter either Bonnie Prince Charlie or the Duke of Cumberland. "The Highlanders" is enjoyable enough, a pleasant little runaround, but far from the best of the historical adventures.
"The Underwater Menace" (4 episodes, 14 Jan 67 - 4 Feb 67)
Written by Geoffrey Orme
Directed by Julia Smith
Patrick Troughton - The Doctor
Michael Craze - Ben Jackson
Anneke Wills - Polly
Frazer Hines - Jamie McCrimmon
"The Underwater Menace" has a terrible reputation, being unfavorably compared to Plan 9 from Outer Space and other B-movie ilk. This reaction stems back to before it even reached the TV screen. The story had originally been rejected by the production team, and only when William Emms' "The Imps" fell through was "The Underwater Menace" resurrected—as a last resort. The cast were unimpressed with the script and production, and director Julia Smith was prone to bursting into tears during filming.
In all fairness, it's hardly one of the worst Doctor Who stories ever, and I actually found it to be a great deal of fun. Of course it is impossible to take the thing seriously for a million and one reasons, but it has some effective moments and the story flows along nicely. Some of the points in its favor are the disturbing scenes involving Polly about to undergo an operation to transform her into a mermaid-like "fish person", Dudley Simpson's incidental score is suitably effective, and the sets are quite atmospheric.
It was perhaps inevitable that the Doctor would one day discover the lost city of Atlantis. Atlantis has been done to death throughout fantasy and science-fiction, and Doctor Who's visit there contains the usual cliché of inhabitants who can live underwater. The Fish People are no doubt a good idea on paper but they have virtually nothing to do in the story and they are let down by the fact that several of them are clearly people in rubber suits (wearing swimming goggles!) and it's not clear if they are only part way through the conversion process or the result of the money running out.
The regular cast come across fairly well, with Patrick Troughton's Doctor becoming the dangerous little anarchist he would always be known as, even if the script doesn't let him play to all his strengths, holding him back from really letting rip on the baddie. Still his scenes with Zaroff are a delight, pampering to the maniacal scientist's ego and then trying to foil his schemes however possible. As in the previous story, "The Highlanders", he dresses up in silly costumes—a character trait that would be abandoned after this tale—with his gypsy disguise being the best of them all. I love his attempts to go back and save Zaroff at the end, and his boasting that of course he can control the TARDIS before it spirals madly out of control is classic Troughton clowning.
As for Ben and Jamie, what can one say? What a couple of babes! And they both look damn hot in divers' outfits. Jamie, who was a late addition to the script, gets more to do here than in his debut, getting into fights and rescuing Polly. Michael Craze seems to be aware of how absurd the script is but still gives 100% and Ben gets a wonderful moment when he pretends to be a guard ("He ain't normal, is he?" he says of the Doctor). Poor Anneke Wills' Polly suffers the worst though, becoming little more than a helpless screamer (she has been a surprisingly strong character up until this point), wailing and moaning and falling over.
The story's villain, the unforgettable Professor Zaroff, is what makes "The Underwater Menace" most memorable. Joseph Furst's performance is unbelievably over the top, overshadowing all of the other characters. The fact that Zaroff is a mad scientist with a pet octopus who wants to destroy the world just so he can have the pleasure of being the man who caused it is insane! Originally it would have been a kind of twisted retribution for the death of his wife and child, but this aspect of the character was dropped. At least it would have given Zaroff some kind of motivation instead of blowing things up for a laugh!
Most of the other guest performances are pretty subdued but then any acting would seem mild-mannered next to Furst's! Noel Johnson (Thous), Tom Watson (Ramo), Colin Jeavons (Damon) and Catherine Howe (Ara) all try their hardest to salvage some dignity from the inane script and lend some believability to Atlantis. They don't really succeed but all praise for their efforts. Peter Stephens' High Priest Lolem made me chuckle, channeling Divine on a bad day!
Ridiculously fun throughout and played mostly tongue-in-cheek, "The Underwater Menace" is a pretty silly story. But it's never boring and has some scenes that will stay with you forever. I just can't bring it upon myself to condemn it. Honestly, the only things I disliked were the costumes, the downright bizarre "Dance of the Fish People", and the clunky moral at the end:
"No. No more temples. It was temples and priests and superstition that made us follow Zaroff in the first place. When the water's found its own level, the temple will be buried forever. We shall never return to it. But we will have enough left to build a new Atlantis, without gods, and without Fish People."
i.e. religion makes you gullible, dumb and probably dead.
Atlantis, Fish People, a mad sacrificing cult and a big camp scheme to blow up the world. Not exactly the ingredients for a classic Doctor Who adventure, but watching it with the right mindset, you might just have a lot of fun with it.
"The Moonbase" (4 episodes, 11 Feb 67 - 4 Mar 67)
Written by Kit Peddler
Directed by Morris Barry
Patrick Troughton - The Doctor
Michael Craze - Ben Jackson
Anneke Wills - Polly
Frazer Hines - Jamie McCrimmon
The Cybermen return in a story that shamelessly retreads "The Tenth Planet", broadcast less than four months previously. Yes, there are some interesting quirks to it (such as the sugar being used to poison the Moonbase crew) but overall, it's the same thing. It is a slicker production all around, and makes better use of the Doctor here than in the former tale. The Cybermen themselves have been redesigned, and although I prefer the original versions, they now look for more advanced and threatening, albeit a little too robotic for my taste. The idea of monsters coming and going as they please (crawling through holes and hiding in the infirmary) is truly frightening and extra tension is gained by the restrictive environment, making it harder to tackle the enemy, such as in Episode 3 when a crewman encounters Cybermen on the surface of the Moon and it takes time to get help to him.
Patrick Troughton is excellent, giving one of his best ever performances as the Doctor. He's absolutely marvelous, especially at such quietly serious moments as the classic "There are some corners of the universe which have bred the most terrible things, things which act against everything that we believe in. They must be fought" speech, which provides the rationale for much of the series. Here, more than anywhere else so far in the series, is the point where the Doctor has stopped being a mere wanderer and become a crusader for justice.
Anneke Wills' Polly gets to shine again, quickly moving on from her coffee-making skills. She's caring, resourceful and proactive, displaying a good rapport with the Doctor. She delivers a wonderful line about the electronic doctor administering to Jamie: "It can't be nice to him." Unfortunately, Michael Craze's Ben is underwritten. He doesn't have much to do, is extremely out of character (his knowledge of the Gravitron, acetones and the composition of the Cybermen) and says embarrassing things like "Not you, Polly! This is men's work!"
As a consequence of being a late addition to the script, Frazer Hines' Jamie stays in the background, rendered unconscious and remaining in the Moonbase's medical bay for much of the adventure. However, one of the story's best moments is his reaction to a Cyberman, thinking it's the Phantom Piper come to take him to the afterlife. I also rather like the hint of jealousy between Jamie and Ben over Polly, and it's a bit of a shame this wasn't developed further.
Of the guest cast, Patrick Barr (Hobson), Andre Maranne (Benoit) and Michael Wolf (Nils) all put in nice performances that show the three main crew members as distinctive from one another. The rest, however, are completely faceless and uninspiring.
Morris Barry's direction is patchy. His work in the first two episodes is great, full of suspense and shadows; really contributing to the atmosphere of the tale. For the rest he just seems to give up, making a decidedly insipid effort. One exception is the repulsion of the Cybermen from the lunar surface. It's not a brilliant scene, but concentrating on the lower halves of the monsters as they rise into space thankfully avoids any "held up by strings" embarrassments.
Production wise, "The Moonbase" is very good. The designs of the interior of the base and the Gravitron are impressive, and the lunar surface is very effective, conveying an eerie, lonely place, although the model flying saucers are woefully poor. The uniforms of the crew look practical, T-shirts and coveralls being a better choice than the usual fashion horrors seen in sci-fi settings. As for Benoit's neckerchief, it's worn to cover up an erroneous number on his shirt, but his exaggerated accent (strange coming from a French actor) already pushes national stereotypes far enough!
An enjoyable, albeit mixed and formulaic tale of base under siege Cyber-suspense. The lack of originality doesn't really appeal, and the climax is weak, but overall the plot is sound and the Cybermen come across as a real, menacing threat, harsher and more calculating, complete with an enhanced appearance and a touch of sarcasm ("Clever, Clever, Clever"). Exciting and atmospheric in places, deadly dull in others, it's just not quite as good as it might have been.
"The Macra Terror" (4 episodes, 11 Feb 67 - 4 Mar 67)
Written by Kit Peddler
Directed by Morris Barry
Patrick Troughton - The Doctor
Michael Craze - Ben Jackson
Anneke Wills - Polly
Frazer Hines - Jamie McCrimmon
"The Macra Terror" is a hugely enjoyable story that takes advantage of popular sixties' concepts such as brainwashing, propaganda and giant insects. The tale's dark and threatening atmosphere is enhanced by good use of sound effects and the nocturnal setting for the human colony, at first sight resembling an idyllic holiday camp—complete with garish tunes—only to be revealed as a secret workforce for the Macra, huge underground crustaceans.
By now Patrick Troughton has firmly established himself as the Doctor, oozing confidence in every scene he's in. He's perfect in both serious and humorous moments, refusing to accept the colony's happy facade and actively undermining the influence of Control, whilst at the same time discovering just what it truly is. I love the scene early on in which he emerges from a machine immaculately presented (much to his dismay!) and immediately roughs himself up again.
Ever since Jamie's late introduction into the series, he's had to share lines with Ben and other characters. But here the script manages to find the right balance for all three companions, giving each one a fair share of the action. Anneke Wills' Polly is very good, and although she falls back into screaming mode, she gives her all in one of the best cliff-hangers the series has ever seen. Namely Episode 2 as she cries out, "Macra! They're in control!" Curdles the blood, I tell you.
Meanwhile, as previously mentioned, Frazer Hines' Jamie has a bit more to do than in his earlier stories: mistrusting everything around him, exploring creepy mine tunnels and even doing the Highland fling! He would finally come into his own in the following adventure, "The Faceless Ones", and it's nice to see him starting to emerge from the shadows here.
But it is Michael Craze who really shines, Ben getting his chance in the limelight and putting in a superb performance as his mind has been influenced by the voices in his sleep. He does a terrific job, portraying Ben with the realistic defiance of someone who is tired of playing second fiddle. Of the Doctor he complains, "He thinks he knows best all the time!" The Doctor keeps on asserting that Ben isn't behaving like himself at all, but it sounds as if he's trying hard to convince himself. Ben struggling against the Macra conditioning makes for engaging viewing, especially as he has moments of clarity when his friends are in danger.
The supporting characters work well, particularly Terence Lodge's Medok, who's like an early Fox Mulder, screaming for those around him to realize the truth only to be met with disbelief. Special mention must also be made of Peter Jeffrey, who puts in a very strong performance as the Pilot. Gertan Klauber also performs the harsh, thuggish Ola well.
The Macra have always been ridiculed by the photo that exists showing one in clear light, but in the surviving clips and Telesnaps they come across as truly scary and never fully visible. The way in which they were kept in the background—swathed in mist and shadows—was clever, being used minimally to great effect.
The climax of the story is a little rushed, but it shows just how dependent the Macra truly were on their human slaves for survival. The ending is a little lightweight, showing a very similar scene to the start of the story rather than a true indication of how the colony has been freed and changed. However, "The Macra Terror" is an unnerving story that has it all. A creepy tale, humor in exactly the right places, and a great cliff-hanger. All in all, one of the best stories of Season Four.
"The Faceless Ones" (6 episodes, 11 Mar 67 - 01 Apr 67)
Written by David Ellis, Malcolm Hulke
Directed by Gerry Mill
Patrick Troughton - The Doctor
Michael Craze - Ben Jackson
Anneke Wills - Polly
Frazer Hines - Jamie McCrimmon
"The Faceless Ones" is a bit of a curate's egg. The plot was initially scripted at four parts, which, in all honesty, was all this tale really needed. Instead there are several scenes that are padded, and much of the action occurs at a deliberate pace in order to fill the story's six episode requirement. Moving the location from a claustrophobic department store to Gatwick Airport does give the story a quality of freshness and originality. Also, the contemporary Earth setting (still a novelty at this point in the series' history) makes a refreshing change of pace.
Patrick Troughton is excellent, as always. He's brilliant when he comes up against the airport staff and evading security long enough to establish his credentials. Then there's the succession of traps set by the Chameleons that the Doctor manages to overcome, but each one helps to push the plot along as they depict how close the Doctor is getting to the heart of the mystery.
Having the companions split up to stumble onto various plotlines is used to ill effect here. In fact—and this is odd considering the overlength of the story—we barely see Ben and Polly after the first two episodes. This is especially shocking considering this was Michael Craze and Anneke Wills' last appearance in Doctor Who. The production team felt the pair had outlived their usefulness, thus their contracts were not renewed (despite initial plans to write them out in Episode 2 of the following story, "The Evil of the Daleks"). I find it really sad, as Ben and Polly were lovely characters who worked well together—and their final scene is very abrupt and rather unceremonious. But at least it wasn't as insulting as Dodo's departure in "The War Machines".
With his co-stars missing from the bulk of the action, Frazer Hines finally comes into his element as Jamie. We see his bravery, when he stands up to Spencer by refusing to leave the injured Doctor, and we get to see his cunning and resourcefulness when he steals Samantha's ticket and takes her place on the Chameleon Tours flight. He's the perfect foil for Troughton's Doctor; their chemistry is pure magic.
The story features a trio of strong female roles and performances. Pauline Collins is terrific as Samantha Briggs; she has a great interaction with Jamie, especially her flirting and her challenges to his manliness. Producer Innes Lloyd asked her to stay on as the new companion, but she declined. It's a shame. She'd have been great fun. Then there's the lovely Wanda Ventham as Jean Rock, and Madalena Nicol as Nurse Pinto. The other performances are uniformly good—Bernard Kay is excellent as Inspector Crossland and the Chameleon Director; Donald Pickering gives an equally strong turn as the sinister Blade, whilst Colin Gordon is great as the long-suffering Commandant—he's such a normal, everyday character that you can easily see why he dismisses the Doctor as a nutcase—especially as the latter turns up at an airport immigration desk without a passport!
What also works in the story's favor is the atmosphere. It's basically an adventure/thriller in the tech-spy mode, complete with freezer-ray pens, airplanes that convert into spacecraft, and even a Goldfinger-style laser beam for slicing your enemies! The story also manages some true horror moments. Ben discovering the catatonic Polly in a crate is one (the expression on her face is terrifying). But it's the appearance of the Chameleons that's astounding. They're absolutely gruesome! Their plight is an interesting and unusual one, and it is good to see that despite their horrific appearance and their undeniably evil actions they are portrayed not as out-and-out monsters but as essentially misguided creatures and the victims of a horrible catastrophe. They give off a definite sense of creepiness; the eerie special sounds work to establish this effect as well, and the story also benefits from director Gerry Mills inventive camera work.
But where "The Faceless Ones" ultimately disappoints is in its weak ending, with the Chameleons meekly giving up and returning to their featureless forms. It comes across as sloppy and a little hard to believe, especially after the extraordinary lengths they've employed to survive.
As a whole, this is an overlong runaround and something of a missed opportunity. The idea of stealing someone's identity is quite horrific, and that premise along with some other nice ideas are excellent. However, the story would have benefited from more thought and less padding. Ben and Polly deserved a far better exit than this, and cut down to four episodes, it might have been a delicious little romp.
"The Evil of the Daleks" (7 episodes, 20 May 67 - 01 Jul 67)
Written by David Whitaker
Directed by Derek Martinus, Timothy Combe
Patrick Troughton - The Doctor
Frazer Hines - Jamie McCrimmon
Deborah Watling - Victoria Waterfield
Doctor Who's fourth year consisted of a hit-and-miss run of adventures, but ended on a definite high note with an undeniable classic: "The Evil of the Daleks". Virtually every aspect of this story is wonderful; a magnificent plot backed up by a decent budget, a top-notch production and a first-rate cast. Written by the late David Whitaker—one of Doctor Who's best scriptwriters—his dialog and characterization here is excellent: some of the best material of the series.
Patrick Troughton is superb as the Doctor, being childish and whimsical one moment and quietly and shrewdly manipulative the next. His reaction to the Daleks is brilliant! There's something special about the Second Doctor; emotional, easily flustered and deeply protective of his friends. It's a different kind of vulnerability and it makes his confrontations with evil seem even more braver because we've also seen him frightened. It is quite easy to see why "The Evil of the Daleks" was a particular favorite of Troughton's; the Doctor dominates the events and proves to be at his dramatic, witty and charismatic best.
Who wouldn't want to make out with Jamie? What a dreamboat! He is sexy as hell and proves once and for all that he is one of the Doctor's best ever companions. Another strength of the story is that is makes Jamie essential to the plot and treats him as a mature and believable character. Yes, he can be recklessly heroic - blindingly so at times—but you never doubt that in his mind he is doing the right thing. There is some real drama in the powerful scenes when Jamie turns against the Doctor and verbally abuses him.
"Anyone would think that it's a little game, and it's not. People have died. The Daleks are all over, fit to murder the lot of us, and all you can say is that you've had a good night's work. Well, I'm telling you this, we're finished. You're just too callous for me. Anything goes by the board, anything at all. You don't give that much for a living soul except yourself. Just whose side are you on?"
Those moments are emotionally painful, but delivered with considerable punch; Frazer Hines giving a fine performance as the tired and hurt young Scot. Jamie's adventures around Maxtible's house—fighting Turks, dodging Daleks and barely escaping some ingenious booby traps—are gripping.
Deborah Watling gives a strong and sympathetic debut as new companion Victoria Waterfield. She is every inch the manifestation of Lewis Carroll's "Alice"; a frightened young girl thrown into a bewildering and terrifying situation. The guest cast are equally strong, with Marius Goring (Theodore Maxtible) and John Bailey (Edward Waterfield) standing out the most, but virtually every other character gives a good performance that makes them believable.
It's a well known fact David Whitaker wrote Doctor Who's best Daleks, characterizing them as intelligent and cunning, rather than just the mindless killing machines that Terry Nation (their creator) often portrayed them as. The Daleks of Whitaker's TV21 comic strips are officially the coolest of all time, but those of his two Troughton stories aren't that far behind. "The Power of the Daleks" gave us sneaky Daleks pretending to be humanity's servants, then "The Evil of the Daleks" introduces the Human Factor—which makes perfect sense for the Daleks to investigate—and the twist involving what actually happens when the Doctor instills it in a Dalek.
Derek Martinus' direction is excellent, capturing the story at its best. Not one shot of the extant Episode 2 is lacking in style, every scene is atmospherically shot and exquisitely creative. This episode alone is one of the best looking pieces of Doctor Who there is. John Cura's invaluable Telesnaps reveal that the rest of the story is of the same high standard with some vivid images on display, the close up on Jamie's eyes as he spots Kemel, the TARDIS carted off on the back of a lorry with the Doctor and Jamie in pursuit, the dazzling light as Maxtible hypnotizes Molly, the Emperor Dalek's magnificent appearance...
Why on Earth the BBC failed to keep this story in its entirety is a mystery to me, as it is one of the few times the show was genuinely a blockbuster.
Dudley Simpson's incidental score is lovely and atmospheric from the mock title theme sting when the Daleks appear suddenly to the charming piano work in the Victorian era and the violently exciting stuff involving Jamie's rescue of Victoria. It's just brilliant, complimenting the action and helping to make the story that bit more delightful.
"The Evil of the Daleks" is a spectacular and brilliant seven-parter, and one of the very finest Doctor Who stories. It is an epic blend of adventure, intelligence, wonderful images and superb structure—the action shifts from 1966 London, to 1866 London and finally Skaro in the distant future. This structure provides a solid base for the narrative and concepts to be put across. Conceptually, it looks at human nature, occasionally in direct contrast to the Doctor and the Daleks; in Jamie and Kemel, humanity is praised and in the greed of Maxtible, it is denounced.
If this had proven to be the final appearance of the Daleks (as originally planned), they would have left the series with a considerable bang!
"Tomb of the Cybermen" (4 episodes, 02 Sep 67 - 23 Sep 67)
Written by Kit Peddler, Gerry Davis
Directed by Morris Barry
Patrick Troughton - The Doctor
Frazer Hines - Jamie McCrimmon
Deborah Watling - Victoria Waterfield
"The Tomb of the Cybermen" kicks Doctor Who's fifth season off with a strong start. Effectively borrowing motifs from Egyptian mummy horror films, this is another smashing adventure and one that truly deserves its long-held standing as a classic.
Episode 1 is 25 minutes of sublime perfection, escalating tension and interplay from a cracking cast; it is so good, in fact, that shortly after it aired Sydney Newman (Doctor Who's creator) phoned producer Peter Bryant to praise it! The Doctor's "special technique" is just one of many gems, with both Jamie and Victoria each getting their own special little moments. I absolutely adore this TARDIS crew, the production team having struck gold with the Troughton/Hines/Watling lineup. The supporting characters are all pretty good, with lots of tension and suspicion amongst the archaeological group quite literally dying to excavate the tomb.
Admittedly there are some downsides in the performances, notably George Roubicek's Captain Hopper, and Roy Stewart's Toberman might be uncomfortable for some to watch today, but I don't think the black servant/strongman was intended to be racist, and in the end he is the hero who seals the tomb at the cost of his own life.
"The Tomb of the Cybermen" is undoubtedly a triumph for Patrick Troughton, making it clear that beneath his Doctor's whimsical, scruffy appearance is a supreme intellect and a relentless opponent of evil. One of the great strengths of this story is the way the Doctor manipulates events to ensure that the Cybermen are thwarted. He knows that the expedition to unearth the tomb is ill-advised, but he helps the archaeologists enter it anyway, knowing that if he doesn't then the villainous Klieg and Kaftan will eventually find some other way in and reawaken the Cybermen. Troughton is brilliant at showing the Doctor's deviousness and hidden intelligence in this situation, and he also has a wonderful sense of mischief. This is readily apparent during the scene where he presses the button that opens the hatch to the tomb, but gives the credit to Klieg, and then later on when he appears to praise Klieg's plans for world domination, only to completely alter his demeanor before saying, "Now I know you're mad." It is a wonderful Doctor-ish moment.
Frazer Hines plays Jamie in an easy-going, affable way and while he doesn't get much of substance to do, it is obvious that his loyalty to the Doctor is absolute and his courage not in question; and, as I've mentioned in earlier reviews, he and Troughton have excellent chemistry together. Jamie is so charming and attractive that the eye just naturally gravitates towards him, making his presence rewarding no matter what.
Deborah Watling's Victoria has a reputation for being nothing more than a screamer - her nickname on the set was "Leatherlungs"—but she doesn't let rip that much in this story, and Watling also succeeds in making Victoria quite courageous, notably when she defies Kaftan, fights off a Cyberman attacking the Doctor, and when she shoots a Cybermat. I also enjoyed the indignant way she responds to being called "Vic" by Hopper, and the lovely scene she shares with Troughton in which they talk about their families. This is very tender and exceptionally well-acted, and it gives Troughton a chance to emphasize the Doctor's caring side and his wide-eyed love of adventure.
Of the guest cast, Cyril Shaps is good as the nervous Viner, as is Aubrey Richards as the gruff Professor Parry, and Bernard Holley as the ill-fated Peter Haydon.
George Pastell's Eric Klieg has come in for a bit of a bashing of late. But I think he is an enjoyable cliché of a character—the ambitious megalomaniac who wants to open the tomb for his own agenda. He is so watchable because he never gives up, he is knocked back again and again, and is even shaken by his first encounter with the Cybermen. The wonderfully masochistic Klieg seems genuinely obsessed and deluded that he will be able to dominate and control the silver giants, and Pastell does give his all in a memorable performance.
Also of note is Shirley Cooklin as Kaftan, the expedition's exotic bank-roller and Klieg's partner. She's another enjoyable character, with an outrageous Russian/Czech accent, and her backstabbing of the naive Victoria in the revitalizing chamber is deliciously wicked.
The Cybermen themselves are very well realized, and the Cyber Controller looks particularly impressive with his tall, brain-like helmet and imposing physical presence, the latter of which comes courtesy of the tall actor playing him, Michael Kilgarrif. The scene in which the tomb thaws out and the Cybermen awaken still looks impressive today, and they come across as believably ruthless in their determination to survive and convert others into their own kind. Incidentally this is the only 1960s Cyber-story for which they weren't redesigned. I don't think it's a coincidence that no other story relies so heavily on their image and reputation. I even like the Cybermats, which despite normally inching along, every so often dart like lightning. Arguably the only thing that mars the return of the Cybermen is their voices, which are hard to understand at times and have an unfortunate resemblance to quacking ducks when they're attacked!
Although a couple of risible moments do rear their ugly head—the use of an obvious dummy stand-in for the Cyber Controller when it is attacked by Toberman, and the great whacking close-up of the Kirby wires holding Toberman up as he is thrown across the room by the silver giants—Morris Barry's direction is strong, and at times, inspired throughout. Indeed, he makes the most out of the wonderful sets and the script, which is great and easy to follow.
It should also be noted that Episode 4's violence was heavily criticized back in 1967. The foam-oozing death of a Cyberman is surprisingly explicit, though what really sells the shot is Troughton and Hines' reactions. However, even nastier is the (richly deserved) fate of Klieg...beaten to death screaming by a Cyberman. Gruesome stuff!
Overall, this is a wonderful little story, boasting many memorable moments and is definitely an excellent showcase for Patrick Troughton's Doctor. And finally a great big "thank you" to the good folks in Hong Kong for neglecting to return their copies of the episodes to the BBC (where they would have certainly been destroyed during the 1970s purge of the archives) and saving this adventure for all to enjoy!
"The Abominable Snowmen" (6 episodes, 30 Sep 67 - 04 Nov 67)
Written by Mervyn Haisman, Henry Lincoln
Directed by Gerald Blake
Patrick Troughton - The Doctor
Frazer Hines - Jamie McCrimmon
Deborah Watling - Victoria Waterfield
Another in a succession of great stories, "The Abominable Snowmen" takes the legend of the Yeti and gives it an interesting twist. It also has an unusual and refreshing location with an engaging storyline that manages to make the most of its six-episode length. The central premise of the Lovecraftian Great Intelligence, a disembodied evil attempting to escape from the astral plane and achieve corporeal existence on Earth is both intriguing and horrific, and makes for some very frightening scenes—particularly those involving the possessed Padmasambhava.
Patrick Troughton is an absolute delight and has some lovely moments; the bagpipes exchange is one, and "Jamie has an idea" is another. Then there's the Doctor's clever plan for distracting a Yeti guarding the TARDIS: "Bung a rock at it." He's also afforded a very touching moment when he's reunited with his old friend Padmasambhava, followed by the shock and horror of discovering the High Lama is in the grip of an alien power. On an interesting side note, this appears to be the first instance of the Doctor being shown to be adept at hypnotism.
Frazer Hines is his wonderful and dependable self; Jamie eagerly throwing himself into the action, helping the monks to capture a Yeti and wreaking havoc on the hidden control room whilst the Doctor confronts the Great Intelligence. Deborah Watling is quite good, with Victoria showing some initiative by wanting to explore instead of remaining in the safety of the TARDIS. She also resorts to trickery in order to reach the Inner Sanctum and discover the mystery of Padmasambhava, ultimately becoming an unwilling pawn of the force at work inside the monastery.
There are some strong performances from the guest cast—notably Jack Watling (Deborah Watling's father) as Professor Travers—a good and driven man trying to defend the Yetis he so passionately studies; Norman Jones as the dedicated and single-minded Khrisong; David Spencer as the kind young warrior Tomni; and Wolfe Morris as Padmasambhava, who is excellent at making the High Lama both unearthly and creepy—and plaudits to the make-up department for his aged and terrifying appearance!
Despite some strong moments, Charles Morgan seems to have been miscast as Songsten; he's about as far from being Tibetan as you can possibly get, while the Eastern accent put on by Raymond Llewellyn (Sapan) is harmless but it's quite obvious he still can't hide the fact that he's Welsh!
The Yeti are impressive and compelling—although not quite as menacing as they could have been, being somewhat on the cuddly side—making a definite impact lurking on the mountainside or rampaging through the halls of the monastery. Their metal control spheres are extremely well done and highly convincing, moving along of their own accord and emitting that unnerving high-pitched sound. And I love the idea of the robotic monsters being controlled by Yeti figurines on a game board.
Production standards are high with a convincing monastery set—especially the Buddha statue, whilst Padmasambhava's chamber has an appropriate eeriness to it—and great use is made of the extensive location filming carried out in Snowdonia, Wales (the largest shoot at this point in the series' history). The lack of any incidental music (other than the chanting of the monks) does leave some bald patches where tension might have been heightened, but it does add a sense of stark realism, enhanced by the constant echo of the wind as it howls around the monastery and through the surrounding mountains.
"The Abominable Snowmen" has a lot going for it: imaginative monsters, a distinctive setting and some nice character work. There's even a little Buddhist teaching imparted to the audience in a nicely subtle manner; the proverbs and lessons are shared rather than preached. Atmospheric and suspenseful, it's no surprise this story became such a big hit with cast, crew and viewers alike, and that a sequel was hastily commissioned. Great stuff through and through!
"The Ice Warriors" (6 episodes, 11 Nov 67 - 16 Dec 67)
Written by Bryan Hayles
Directed by Derek Martinus
Patrick Troughton - The Doctor
Frazer Hines - Jamie McCrimmon
Deborah Watling - Victoria Waterfield
Boasting high production values, solid scripting, well-developed characterization, and an abundance of creative ideas, "The Ice Warriors" sees another classic monster making its debut in the brilliant Season Five. The titular Martians are fantastic, literally towering over the human cast and speaking in whispered yet frightening tones. Actor Bernard Bresslaw, although thoroughly encased in a smothering costume, effectively brings to the character of Varga (the Ice Warrior leader) a vivid sense of identity and menace.
Patrick Troughton is magnificent, arguably the best all round actor to tackle the role of the Doctor. He layers the character; you chuckle at his pratfalls but you know he's also a very capable opponent. Walking into the Ice Warriors' ship armed only with a stink bomb is just so quintessentially Doctor-ish. When challenged by Leader Clent and Miss Garrett about what he can put up against the Martian weaponry I was half expecting him to say "my mind!" His great rapport with Jamie and Victoria is brilliantly conveyed in their first scene (playfully exiting the TARDIS), which is just magic. I love the undeniable look on the Doctor's face as he says "No, let's go in"; it's partially mischievous but there's also something else, possibly a hint of danger. I also adore his "Oh my word!" and attempt to retreat when he sees an Ice Warrior for the first time.
Traveling through time and space begins to take its toll on Victoria here. Her horror and sadness at Jamie's apparent death is well portrayed by Deborah Watling. She also has one of the best scenes of the whole story: her fake wailing to cover the Doctor's explanation of his escape plan. It's just so wonderful. The pauses while they whisper followed by a loud wail whenever the Ice Warrior gets suspicious. Very funny. I'm surprised this has never made one of those classic moments lists!
Frazer Hines seems to have drawn the short straw this time around, with Jamie being either unconscious or injured throughout the story. However, his determination to rescue Victoria is great, and the scene in which he fantasizes about her in one of the tight-fitting outfits the female staff of Brittanicus Base wear is priceless.
Acting-wise the story benefits from a strong guest cast, with both Peter Barkworth (Clent)—especially with his displays of barely controlled hysteria—and Peter Sallis (Penley) providing strong conflict and a contrasting reaction to the difficulties of the situation; it's quite easy to see why Penley got fed up with the hot-headed and stubborn Clent and chose to leave the safety and security of Brittanicus Base. Also of note, Wendy Gifford is strong as the icily efficient Miss Garrett, and Angus Lennie as Storr, the scavenger with a mistrust of science. The scene where Storr is murdered by the very creatures he foolishly thought would help him is especially moving.
Derek Martinus' direction is excellent, bringing to life a future England trapped in the Second Ice Age whilst managing to crank up the tension as the glacier inexorably creeps forward threatening to destroy the base. The sequence where Victoria makes an ill-fated attempt to escape through a series of ice formations, pursued by an Ice Warrior, is particularly memorable.
The story also has a lot going for it in the design department, such as the fab sixties costumes of the base personnel—which do look highly futuristic—and Brittanicus Base itself which is convincing as a preserved stately home turned into an emergency outpost. The Martians' ship is excellent and the Warriors' costumes are superb, though only Varga and Zondal have well designed helmets with the others' looking somewhat like modified motorcycle helmets (which they very probably were!). The scenes in the snow and ice are also highly impressive, though I'm not sure why the production team bothered hiring the bear for its encounter with Jamie and Penley; it comes across looking like stock footage since the animal is never in the same shot as anything else specific to the story.
Dudley Simpson's incidental score is suitably enhanced by the haunting vocal talents of soprano Joanne Brown, the crashing percussion and the slight return of Victoria's theme from "The Evil of the Daleks".
The vision of what will happen in the future if we don’t care for our planet is a very pertinent one now. The story’s main message about humanity's enslavement to machines might seem heavy-handed and dated to some. But look at how dependent we are on computers today... it's not a far cry from Leader Clent and Miss Garrett treating the base's computer like an all-powerful deity.
A highly enjoyable adventure, "The Ice Warriors" is richly deserving of praise. For a six-parter it doesn't drag—the only padding comes in the final episode where Clent gives a 'For those of you who have just switched over'-type speech about the situation—and everything (actors, sets, costumes, music, etc.) is truly wonderful.
"Enemy of the World" (6 episodes, 23 Dec 67 - 27 Jan 68)
Written by David Whitaker
Directed by Douglas Camfield
Patrick Troughton - The Doctor
Frazer Hines - Jamie McCrimmon
Deborah Watling - Victoria Waterfield
Best remembered for Patrick Troughton's dual role as the Doctor and his villainous double Ramon Salamander—and for being the only story of Season Five not to feature any alien monsters—"The Enemy of the World" is more reminiscent of a James Bond adventure or an episode of The Avengers than a typical Doctor Who script. It does manage to break away from the recent string of base-under-siege storylines—making for a refreshing change of pace—even if it does ultimately succumb to padding due to its six-episode length; however, the pace seldom slows and the plot is engaging.
Patrick Troughton is, as usual, excellent, being particularly on top form as the ruthless and murderous Salamander. His Yucatan accent is wonderful fun without going too over the top, and he makes a great baddie. It's obvious that he's having a whale of a time, and he succeeds in bringing to life the would-be dictator's duplicity and immorality. The scenes towards the end are particularly effective, with the audience at times being unsure as to whether they are watching Salamander or the Doctor. It's just a shame the Doctor and Salamander confront each other only once, during said climax, due to technical difficulties during recording.
Although the Doctor has little to do for most of the story, merely observing and seeking to reach his own conclusions about Salamander, this is by no means a weakness as Jamie and Victoria are both afforded some good material, effectively conveying what engaging and resourceful companions they are. How completely and utterly gorgeous does Frazer Hines look in that guard uniform? We're talking seriously hot here; Jamie dashing around firing at things and causing all sorts of mischief in Salamander's court. There's a standout moment in the story that sums him up perfectly, when Benik threatens Victoria and Jamie suddenly snaps, "Lay a finger on her and I'll kill you." It pretty much rounds his character up, his unwavering devotion and loyalty to his friends proving why he is held in such high esteem as one of the best companions ever.
Deborah Watling appears to be enjoying herself immensely, throwing herself into the action. I adore the scenes in the kitchen (who doesn't?) with Griff, Victoria's enthusiasm rubbing the cynical chef the wrong way: "That's great, just great... yeah I've got a job for you all right: PEEL THOSE SPUDS YEAH NOW!" In a story that is all about human interaction Victoria fits in perfectly and her involvement infiltrating Salamander's headquarters and trying to release Denes is a nice change of routine for her character.
Of the guest cast, the acting is sterling across the board with Milton John's sadistic Benik being particularly chilling...if a little on the camp side. Bill Kerr is great, portraying Giles Kent as a sympathetic character right up until the point in which his true intention is revealed; that particular twist is quite shocking, as is Colin Douglas' Bruce's eventual metamorphosis from Salamander's lackey to courageous battler against tyranny. Other notable performances include Mary Peach as action-girl Astrid Ferrier, Reg Lye as the pessimistic and entertaining Griff ("I'm going for a walk...it'll probably rain."), and Carmen Munroe as Fariah, Salamander's embittered food taster.
Fariah is the strongest and most convincing black character to appear up to this point in the series, and it is through her tortured eyes that we see just how evil her boss really is, in many ways a tragic character as she is destined to die as soon as she turns to the Doctor for help. With Fariah the story is brought down to a very human level; Salamander treats her like a slave and she later admits he has a hold over her thanks to an indiscretion, as the Doctor brilliantly observes "Nobody's perfect" when he discovers she is being blackmailed.
As with other stories in Season Five, the production values are fairly high. The opening episode with a shootout on the beach, complete with hovercraft and helicopter is very exciting and expensive-looking and quite an achievement considering the low budget the series had to work with. Similarly, Barry Letts' direction is nice and quite slick despite the choppy editing, although it was more of a behind-the-scenes problem than fault on his part.
David Whitaker was a truly superb writer, whether penning short stories ("The Rescue"), historicals ("The Crusade") or epics ("The Evil of the Daleks"). This is no exception; it's densely plotted and filled with terrifically realized characters. The dialog sparkles throughout, with some excellent exchanges, including Astrid's reaction to the Doctor: "To me you're the most wonderful and marvelous man that's ever dropped out of the skies!" The Doctor has some gems as well: his child-like "I'm the nicest possible person!"; his glum "That's comforting anyway," when informed his death would be for a worthwhile cause; and (as mentioned before) almost every line from Griff is fantastic.
Where the story fails is in its uneven pacing: it drags along at times, and would have certainly been better as a tight little four-episode piece than as an overlong six-parter. That said, the plot actually hangs together pretty well, with Salamander's descent into the underground shelter and the introduction of Swann, Colin, Mary and the other "survivors" serving to liven things up a little halfway through.
The final episode feels very tired in places, while the climax is just an assortment of showdowns and escapes. Likewise, it's all a bit confusing; it's not clear if Astrid and Bruce manage to free the underground dwellers from the cave-in. But the story's biggest letdown is its rushed conclusion with Salamander arriving at the TARDIS without having heard one word about the Doctor's ship or its location. It almost feels as if there was a missing scene; perhaps he gained the information by overhearing the imprisoned Jamie and Victoria talking?
There are also a couple of other things which seem implausible: for example, why would Salamander walk around unarmed (this is clearly implied by his use of a metal bar to attack Swann)? Similarly, once having attacked Swann, surely he would have taken care to ensure that he finished him off completely? Such carelessness seems odd for a merciless figure such as Salamander.
Where the story succeeds is in showing the great versatility of both Patrick Troughton as an actor, and the format of Doctor Who. The scheming and counter-scheming is highly complex but never impossible to follow, making the story all the more rewarding and one of the most overlooked of all the Second Doctor adventures.
"The Web of Fear" (6 episodes, 03 Feb 68 - 09 Mar 68)
Written by Mervyn Haisman, Henry Lincoln
Directed by Berry Letts
Patrick Troughton - The Doctor
Frazer Hines - Jamie McCrimmon
Deborah Watling - Victoria Waterfield
Brimming with elements of claustrophobia, possession, and paranoia, vividly brought to life by Douglas Camfield's excellent camera work and ability to transform a tiny TV studio into a realistic version of the sprawling London Underground, "The Web of Fear" shows sixties Doctor Who at its very best. A direct sequel to the season's earlier "The Abominable Snowmen", it features the return of the Great Intelligence and its robotic Yeti—as well as Professor Edward Travers—taking them from the Det Sen monastery in Tibet and placing them in another highly unique setting. Indeed, the Yeti are an effective, frightening menace as they swarm all over the darkened London Underground, and the impact of their presence in such a location created a big impression that many still remember and others comment upon to this day.
Patrick Troughton steals the show, putting in one of his best ever performances as the Doctor. Having played two roles in "The Enemy of the World", the production gave him a holiday at the earliest opportunity, and thus he's missing from Episode 2. This was common for the series' stars in the 1960s and often tended to produce relatively dull episodes, but here the Doctor's absence is used to great effect, giving both Jamie and Victoria, as well as the guest characters, more to do. Troughton once again shows what an outstanding Doctor he is. Leaping into the thick of the mystery, always giving off that whimsical air of trust. You truly believe that he, Jamie and Victoria are real friends, watching out for one another, trusting each other. Entertaining exchanges such as "Is it safe?" "I shouldn't think so for a moment" are pure gold.
The guest cast is impressive and memorable performances abound. Driver Evans (Derek Pollitt) is a lovely character of a kind we hardly ever see, the soldiers are refreshingly down-to-earth and of course we get the debut of one Alistair Gordon Lethbridge-Stewart, destined to become one of the series' best-loved characters. It's a great showcase for Nicholas Courtney, dumping him straight into the most desperate situation he'd ever face. I love the fact that Lethbridge-Stewart doesn't waste time doubting the Doctor's claim to have a space-time machine, unlike Captain Knight (Ralph Watson), but immediately asks whether it could get them out of their situation.
Harold Chorley (Jon Rollason) comes across as a convincingly loathsome journalist, at first merely pompous but basically deteriorating into an out-and-out slime. Jack Woolgar is marvelous as the gruff Staff Sergeant Arnold, and manages to pull off the genuinely surprising twist of being under the Intelligence's control all along.
Jack Watling was tremendous fun as Travers in "The Abominable Snowmen" and here he's just as scene-stealing. His character might be 40 years older, but if anything the cantankerous old professor seems to be using his deteriorating faculties as an excuse for bad behavior. He was never particularly good with people, judging by his actions in Tibet, but here he seems to have abandoned anything that could even be mistaken for politeness. Note his daughter Anne's exaggerated patience towards him. As Professor Travers says, "She's like a mother, always interfering in things she knows nothing about."
I simply adored Tina Packer's performance as Anne. She's wonderful; her cool, sarcastic reply to Knight's chauvinistic taunting is a joy to behold, as is her amusing put-down to Chorley being a "member of the gutter press".
There are so many outstanding aspects of the story that it's difficult to draw attention to them all. However, what makes it truly special are the high stakes, and as mentioned above, Douglas Camfield's superb direction. He makes the situation incredibly real and more dire than most stories manage in their dramatic climaxes. There's the famous tale of London Underground officials being convinced that the Doctor Who production team must have filmed on location without their permission instead of in the studio. The soldiers feel like soldiers, the danger feels dangerous and the Yeti are terrifying. That scene in Julius Silverstein's private museum is shot like something from a horror film and it's absolutely fantastic! "The Web of Fear" grabs you by throat and never lets go. You're in those tunnels. You're trapped there with the soldiers and the Yeti. You can practically smell the fear. That's what Douglas Camfield did.
The conclusion of the story is surprisingly downbeat. Instead of defeating the seemingly unstoppable Great Intelligence, the Doctor's friends succeed in merely severing its link with Earth. It's still out there, floating around in space, waiting for another opportunity to establish contact...It's a chilling prospect, and the Doctor's frustration with his allies' interference with his plan to defeat the Intelligence once and for all is Troughton at his finest. He's positively furious, a reaction given an extra punch when you consider that the entire situation came about due to the Doctor. The deaths of all those soldiers at the hands of the Yeti, as well as untold civilian casualties when the web mist first emerged are all because the Intelligence wanted to lure the Doctor into a trap. It's a powerful emotional punch to the end of a gripping adventure.
What a shame we never got to enjoy "The Laird of McCrimmon"—the third and final Yeti adventure from Mervyn Haisman and Henry Lincoln—but of course, arguments over re-writes to "The Dominators" and the rights issues surrounding their monstrous creations brought those plans to an abrupt halt. Still, given that "The Web of Fear" is an all-out, epic battle between good and evil, it's hard to imagine how one last showdown could top this one.
It is simply one of the finest Doctor Who stories ever produced, filled with mystery, action, excitement, dark atmosphere and great characterization. Yet another tragic loss to Troughton's decimated era, with only one episode—the exemplary opening installment, along with a handful of clips - surviving in the BBC Archive.
"Fury From the Deep" (6 episodes, 16 Mar 68 - 20 Apr 68)
Written by Victor Pemberton
Directed by Hugh David
Patrick Troughton - The Doctor
Frazer Hines - Jamie McCrimmon
Deborah Watling - Victoria Waterfield
Of all the lost stories "Fury from the Deep" is the one I want to see the most. From beginning to end, it is a gripping, frightening, and intensely dramatic adventure, despite the fact that the main antagonist is a telepathic, parasitic seaweed creature! Writer Victor Pemberton focuses on the monster's effect on its victims rather than the monster itself; this allows the viewer to vividly experience the same fear and paranoia which the characters trapped within the North Sea Refinery feel when they realize they are under attack from the creature and its possessed victims.
The story also succeeds thanks to many memorable scenes: the possessed Mr. Oak and Mr. Quill attacking Maggie Harris in her home by exhaling poisonous gas through their mouths—the facial expressions of these two unsettling characters are chilling and sinister in the extreme—arguably the scariest moment ever in Doctor Who; the possessed Maggie walking into and disappearing under the ocean waves, on her way to join the Weed creature; the Doctor's declaration as the seaweed begins to attack the refinery: "It's begun...the battle of the giants!"; and Victoria's parting scene with Jamie at the story's conclusion, a departure as touching as any in the history of the series.
Patrick Troughton's performance throughout is truly exceptional, belying the fact that this was one of his favorite serials. There is so much to praise him for in this story; having a great laugh as he initiates a spontaneous foam fight on the beach; his intelligent dissection of the Weed in the TARDIS; his manic desperation in the impeller shaft; plus the cleverly timed "Oh no..." as he realizes that Victoria has been kidnapped by Robson, which says much more than he realizes. Then there's the hysterical five minutes of screwball comedy as the Doctor attempts to fly a helicopter. His terrified screams as he loops the loop and almost crashes are wonderful.
Deborah Watling gives a poignant, final performance as Victoria, making all of her scenes especially wonderful as she kicks up a fuss and decides she is sick and tired of always being so frightened. She wants stability. She wants roots. She wants to leave the Doctor and Jamie. And yet this is one of the most difficult departure stories to experience because of Jamie and the Doctor's reaction to her decision, and Victoria's own reluctance to leave the two men who have become her family. Throughout the season we have been privy to their blisteringly scary adventures and the chemistry has been electrifying so it is painful to see Jamie so torn up, refusing to let her go. It takes the Doctor to step in and pull him back, to allow Victoria to make her own decision. His gentle final scene with Victoria is lovely, a mirror scene to the celebrated one in "The Tomb of the Cybermen", where you realize he is going to let her go because continuing to expose her to all the horrors would be unfair. The family is breaking up forever and it brings a genuine lump to the throat.
Frazer Hines is superb as ever, and has a fantastic harrowing moment when Jamie is trapped on the Harris' kitchen table surrounded by seething mounds of seaweed and foam. Jamie, who is often cast as the brawn to the Doctor's brain, is afforded some rare, tender scenes which rank amongst his best ever. His quiet discovery of an unconscious Victoria and mistakenly believing she might be dead, and his aforementioned farewell with her are brilliantly played and easily serve to highlight Hines' considerable talent.
Not only do the regular cast put in excellent performances, but the guest cast are also notable for featuring several strong characters—the skeptical, business-minded Megan Jones (Margaret John), the sympathetic Maggie Harris (Jane Murphy) and her concerned husband John Harris (Roy Spencer), as well as the doggedly determined Van Lutyens (John Abineri).
But nearly stealing the show is Victor Maddern who is frighteningly good as Chief Robson, a man teetering on he edge of sanity. Reminiscent of Leader Clent in "The Ice Warriors", it helps that Robson is a complete and utter bastard before being possessed by the Weed. Scenes such as his breakdown in front of his entire staff screaming, "I'm in charge here!" make you feel uncomfortable just listening to them. Watching this violent, bitter controller losing his grip is unsettling in a totally different way to the attacking Weed or the sinister Oak and Quill, it is a real person losing the respect of his peers, undermined at every corner and lashing out in hysteria. That is scary.
Dudley Simpson's incidental music is superbly effective, especially the film noir-ish piano score as Van Lutyens descends into the shadowy, cramped impeller shaft. Indeed, the Weed's presence is empathized throughout with a constant 'heartbeat' sound, adding considerably to the story's impact as a whole. It also helps that the cliff-hangers are all gripping, each successive episode ending driving the viewer onwards through an effortlessly entertaining two and a half hours. Of particular note is the climax of Episode 1: Victoria trapped in the oxygen storeroom with the Weed bursting through the grille is the stuff of nightmares!
Patrick Troughton's era has suffered terribly from lost episodes—hence it is always difficult to judge a story on the merits of its direction when every single one of its installments are unfortunately missing. But, thanks to the handful of surviving clips, John Cura's Telesnaps, and the off-air soundtrack, Hugh David clearly put in a confident, outstanding effort. There are lots of reaction close-ups, impressive location long shots, real-life rigs in action and clever camera work (during Robson's breakdown there is a rather disconcerting shot of his bed filmed from a grille in the ceiling).
Although the Weed creature itself is only glimpsed thrashing in the foam, the threat posed by it is extremely well-presented—true 'behind-the-sofa' stuff—with the tension and suspense never letting up, superb performances and a decent send-off for Victoria, "Fury from the Deep" is a marvelous adventure, and an undeniable classic.
"The Wheel in Space" (6 episodes, 27 Apr 68 - 01 Jun 68)
Written by David Whitaker, Kit Pedler
Directed by Tristan de Vere Cole
Patrick Troughton - The Doctor
Frazer Hines - Jamie McCrimmon
Wendy Padbury - Zoe Herriot
Along with "The Enemy of the World", "The Wheel in Space" is often overlooked amongst the vast wealth of Season Five's classic gems. In comparison to other Cyberman stories during this period, it scores over "The Moonbase" by a having a more complex plot in which the silver giants take over Space Station W3—the Wheel —in strategic stages. Admittedly it is another base-under-siege tale, with another commander teetering on the edge of sanity, and there is some padding—notably with the Doctor's absence in Episode 2—but the precise strikes in which the Cybermen carry out their invasion works incredibly well. The opening installment has a strong feeling of isolation, and is wonderfully reminiscent of early William Hartnell-era episodes (with mercury, fluid links and a food machine all name-checked—hoorah!).
The plot manages to sustain itself by keeping the interest level up. Unusually, the viewer is almost always ahead of the Doctor in realizing what is going on: we're the first to know that the Cybermen are involved; that a hostile Servo Robot lurks inside the locked control room on the Silver Carrier; and that the TARDIS is potentially in danger (first from the Wheel's X-ray laser and later from a meteorite storm). We're even privy to the Cybermen's plan, step by step. This is highly effective in helping to build up tension and anticipation.
Things do indeed get very tense when the Cybermen start killing off the crew of the Wheel. The death of Gemma Corwyn is quite nasty and effective, and Jarvis Bennett's one-man-stand against a Cyberman is also somewhat affecting in its pointlessness. The impact of these scenes, and of the story as a whole, is greatly enhanced by the acting of the guest cast, which is generally very good.
The story is perhaps best remembered for introducing new companion Zoe Heriot, brought to life with infectious enthusiasm by the too-adorable-for-words Wendy Padbury. In stark contrast to Victoria, she starts out as a rather precocious, bratty know-it-all, and her initial lack of emotion and reliance on logic show how easily it can be to fall into the trap of acting like Cybermen without the need for physical conversion—the difference in Zoe's case being that, as a result of her contact with the Doctor and Jamie, she comes to question and change her outlook on life.
Patrick Troughton and Frazer Hines are their usual wonderful selves, both on good form and working together as a finely-tuned double-act. The Doctor's memorable "Hello, I think I've got company" before a fantastic confrontation with the Cybermen is definitely a classic moment! Having said good-bye to Victoria in the previous story, "Fury from the Deep", Jamie's missing her and isn't ready to accept someone new. But he and the Doctor strike up an immediate rapport with Zoe, and although they have a different chemistry to the one shared with Victoria, it is another winning combination. I love the ending where Zoe stows herself away inside the TARDIS, and afraid of losing another companion to the terrifying monsters they'll encounter on their adventures, the Doctor relates to her the events of "The Evil of the Daleks"—dovetailing nicely into the repeat screening of that story—to be sure travelling through time and space is really what Zoe wants to do.
Although we only ever see two of them at a time, which actually makes their presence all the greater for being an early boarding party, I'm rather fond of these redesigned Cybermen. They look powerful and menacing, and the teardrop shape of their eye sockets is brilliant. I don't think anyone will ever invent a more perfect visual metaphor for the tragedy of the Cybermen. It's a haunting accident of design.
Tristan de Vere Cole—making his only contribution to Doctor Who—turns in some solid direction and camera work. However, he seems to think that Cybermen need to move when speaking. It looks odd, as if they're honoring the Japanese custom of ojigi (bowing)! Jarvis Bennett's murder is excellently staged. Yes, it's repeating the 'lift someone over their head' trick from "The Tomb of the Cybermen", but this time they get it right. You can't see the Kirby wires! In fact the whole sequence looks frighteningly brutal.
One of the most disappointing aspects of the story is its weak conclusion. The Doctor uses the TARDIS' Time Vector Generator to give the Wheel's laser cannon a boost and thus take out the approaching Cyberman spaceship in one go. Then, to add insult to injury, the invading Cybermen space-walking towards the station are much too easily repelled by simply activating a force field. Certainly something more inventive could have been devised? Or had the money simply run out? After six episode's worth of build-up, it is a major let down.
Overall, "The Wheel in Space" does boast a fairly-well devised plot, and great use is made of the Cybermats as rat-like saboteurs. The idea of space-walking and the concept of a self-sufficient space station complete with an international crew is handled well. With some memorable moments—particularly the scenes of Cybermen hatching from 'eggs'—it serves up another good Cyber adventure, and makes a great introduction for Zoe.
"The Dominators" (5 episodes, 10 Aug 68 - 07 Sep 68)
Written by Norman Ashby
Directed by Morris Barry
Patrick Troughton - The Doctor
Frazer Hines - Jamie McCrimmon
Wendy Padbury - Zoe Herriot
A disappointingly lackluster start to Season Six? That's been the overwhelming consensus of "The Dominators" for many years. Truth be told the story is overlong in length and short on plot—and it might never reach the top of any fan's list—but I can honestly say that I did enjoy seeing it again. However...
What seems to make this standard Doctor-fights-the-oppressors-and-defends-the-oppressed story unpopular is the nature of the oppressed. The Dulcians really are a pathetic bunch! They are an exceedingly boring race of wimps who muster very little sympathy from the viewer to the point where it is difficult to care whether they are enslaved or blown up. Especially the Dulcian Council, who just sit around, deliberate and are downright ineffectual. They are meant to be a highly sophisticated, Utopian race, but it seems their most significant achievement is turning the shower curtain into the height of fashion!
The story itself is aiming to teach us a thing or two about the pros and cons of pacifism—a similar issue having been tackled far better and with considerable more punch back in the first Dalek serial—but by the end the Dulcians haven't learned anything. Nothing has changed in their attitude, and if it weren't for the Doctor, Jamie, Zoe and Cully, they would all be dead.
Nasty by nature, the titular Dominators are certainly better, although they do not come across as the all-conquering race they claim to be. Somewhat resembling a pale-faced ghoul from an old Universal horror film, Ronald Allen deserves special mention for his portrayal of Navigator Rago. He manages to create a fascinating character that exudes a certain gloomy intensity. The continual, heated arguments between Rago and Probationer Toba (Kenneth Ives) over their differing methods of subjugating the Dulcians creates a nice tension, although the conflict does seem drawn out and becomes tired and repetitive after a while.
Probably the most novel aspect of the production are the Quarks, but they can hardly be classed amongst the best of the series' alien creations. Touted at the time as being the next big Doctor Who monster, they make very little impact, partially because they are portrayed as nothing more than drones, but also because their design and voices are so cute. They are by no means the effective, deadly robots the script intended them to be.
Patrick Troughton is unquestionably the star here; he is a magnificent actor, practically making any adventure worth watching. Some of the story's most memorable moments all involve the Doctor: his feigning stupidity to appease the Dominators is great fun, and his clever yet simple idea of how to get the Dominators' bomb off of the planet is quite hilarious too. Both Frazer Hines and Wendy Padbury are excellent as well, giving their all and being utterly delightful. Jamie has a particularly interesting time, leading the fight against the Dominators and destroying Quarks left, right and center.
Although well-acted by Arthur Cox, the role of Cully seems to have been miscast. It obviously called for a young rebellious type, and instead Cox resembles a middle-aged Clive Anderson in drag! Apart from Cully, the only other character to really stand out and undergo any development is Kando, played with an element of quietness by the lovely Felicity Gibson. All the rest are, unfortunately, totally forgettable caricatures.
Director Morris Barry does what he can with the story. For the most part his work is uninspired and drab, but the use of close-up camera shots is quite effective, especially the scenes in which prisoners are interrogated in the Dominators' ship. He also captures some colossal explosions, and then there's the terrific disintegration effect when Tolata—one of the young people visiting the Island of Death in Episode 1—is gunned down.
"The Dominators" is certainly not one of the Second Doctor's best stories, and is easily the weakest effort from the writing duo of Mervyn Haisman and Henry Lincoln. After their success with the Great Intelligence and the Yeti, you can almost see them trying to capture lightning in a bottle again with the Quarks. The sad part is that this was originally supposed to be a six-part story. Thank goodness script editor Derrick Sherwin shaved it down by one episode, but even as it is, it's a very mundane tale that drowns in good intention.
While the cliff-hanger leading into the infinitely superior "The Mind Robber" is cleverly done, it is not enough to save this mixed bag of a story.
"The Mind Robber" (5 episodes, 14 Sep 68 - 12 Oct 68)
Written by Peter Ling, Derrick Sherwin
Directed by David Maloney
Patrick Troughton - The Doctor
Frazer Hines - Jamie McCrimmon
Wendy Padbury - Zoe Herriot
Considering the production difficulties it had to overcome—having an extra episode tacked on due to "The Dominators" being cut down from six to five; not having any budget for the additional episode; Frazer Hines contracting chicken pox and having to be temporarily replaced by Hamish Wilson—it's amazing "The Mind Robber" turned out to be one of the best stories ever. Words cannot express how wonderful this adventure is—utter perfection! Full of marvelous moments, good effects and great performances by the entire cast.
Patrick Troughton is at the top of his game as the Doctor, showing some wonderful comic timing, fear, astonishment, deep thinking and putting in another masterful performance. Frazer Hines is brilliant as Jamie, loyal and lovable, ready to defend his friends to the death. His chemistry with Troughton (which I've remarked upon time and again) is wonderful. Hamish Wilson does a good job under stressful circumstances, but one can't help but feel an enormous sense of relief when Hines' Jamie reappears. Wendy Padbury is excellent as well, clearly full of enthusiasm and making Zoe headstrong and forward thinking, and her frustration as she tries to make sense of a bizarre situation is entertaining to watch. And she looks absolutely incredible in that sparkly Emma Peel-inspired catsuit!
Emrys Jones is fantastic as the Master of the Land of Fiction. He slips effortlessly from a doddery, lovable writer to a menacing villain controlled by the Master Brain computer. Bernard Horsfall is superb as Gulliver; the decision to have him only recite dialog from Jonathan Swift's novel is very inspired! Christine Pirie is absolutely charming as Rapunzel, forever on the lookout for her prince. Considering he is a spoof of comic book superheroes, Christopher Robbie is great as the Karkus, and has a suitable macho presence and voice. Even the child actors (amongst them a young Sylvestra Le Touzel)
are memorable as the E. Nesbit children.
Director David Maloney (who would go on to be responsible for many more classic Doctor Who serials) makes an impressive debut. He really pulls it all together, his work polished and confident, giving the story a delicious edge, and continually reminding the audience there is real danger despite the fantastic nature of the threat. It is also a visual feast for the eye, filled with memorable images; the stunning white void, the TARDIS exploding into pieces, the console spinning through darkness with Jamie and Zoe clinging to the edge, the Forest of Words, the maze filled with flickering candles and cobwebs, Jamie and Zoe trapped between the pages of an enormous book... Designer Evan Hercules even manages to pull off a fairytale castle with terrific scope.
Both the White Robots and the Clockwork Soldiers are terrific, as well as having an effective and frightening sound effect. Also of note is the stop-motion animation used to bring the Medusa to life. The Doctor and Zoe's encounter with her is an agonizingly tense moment—even though Zoe's desire to look at her is infuriating, you can sympathize with her. It makes for another terrific cliff-hanger.
The first episode is absolutely superb; dazzling, surreal, terrifying and unsettling. The Doctor, Jamie and Zoe's unease about where they are and what they might encounter really shines through to the viewer. Patrick Troughton, in particular, displays the severe gravity of the situation. The Doctor is uncertain and scared, whilst Jamie and Zoe are delightfully naive. The lack of incidental music adds to the feeling of disquiet, as does the white void and the mysterious voice and images compelling the time-travellers to leave the TARDIS. As the Doctor puts it, "it's only the unknown that worries me" and it's easy to believe him. Zoe's bloodcurdling scream as we see her and Jamie dressed in white, smiling and beckoning the Doctor outside, is creepy and unnerving. And the cliff-hanger, which builds slowly and then speeds up as the tension heightens, is brilliant.
The Doctor and the Master's "fiction battle" showdown is a joy to behold! Conjuring up all manner of characters from fiction to fight each other in an attempt to rescue/kill Jamie and Zoe is magnificent and racks up the excitement as the Doctor and the Master try to one-up each other.
I'm rather fond of the idea that what the Doctor, Jamie and Zoe experience is a shared dream—the white robots and the clockwork soldiers being Zoe and Jamie's subconscious images of the Cybermen and the Quarks, for instance. Although the opening TARDIS scene in the following story, "The Invasion", hints this might very well be the case, there is nothing definite onscreen to substantiate the theory. Still, it makes for some interesting speculation.
"The Mind Robber" is my favorite Second Doctor adventure and I simply cannot praise it highly enough. It is a magical, wonderful, fantastic tale; engaging, eminently re-watchable and a great deal of fun.
"The Invasion" (8 episodes, 02 Nov 68 - 21 Dec 68)
Written by Derrick Sherwin, Kit Pedler
Directed by Doug Camfield
Patrick Troughton - The Doctor
Frazer Hines - Jamie McCrimmon
Wendy Padbury - Zoe Herriot
Doctor Who was soon to undergo a change of format in which an Earthbound Doctor would team up with UNIT—United Nations Intelligence Taskforce—an organization set up to fight alien menaces and other unusual threats (thanks to the events of "The Web of Fear"). And "The Invasion" sets this premise up incredibly well. Not only that, but this eight-part epic also turned out to be one of the best and most memorable Cyberman stories. This is quite an achievement considering the silver giants are kept firmly in the background throughout (not even appearing until the climax of the fourth episode). Instead the 'real' villains of the piece are the Cyber Director (presumably, like the Cyber Planner in "The Wheel in Space", a super-evolved Cyberman) and the partially-converted human entrepreneur Tobias Vaughn, superbly played by Kevin Stoney—a great actor who imbues Vaughn with charm and menace, creating a fascinating and memorable character.
Patrick Troughton is brilliant as ever, dominating every scene he's in and giving one of his best ever performances. The Doctor's sparring with Vaughn is a constant delight with Troughton playing up his mischievous clown image to the hilt. He has some truly wonderful moments, especially his hysterical posing for photographs in the middle of the climactic fight against the Cybermen! Again it goes to show what a terrible shame it is that most of his stories are lost.
Frazer Hines and Wendy Padbury put in solid performances, continuing to make a resourceful and likable team, and their chemistry with Troughton fairly glows on screen. Both are given a great deal to do in this story, and although it's disappointing Jamie is kept out of the action towards the end (it was Hines' turn for a holiday), Zoe gets to shine when disabling the International Electromatics computer and in helping the armed forces destroy the Cyber fleet.
Reprising his role of Lethbridge-Stewart from "The Web of Fear", Nicholas Courtney has clearly made the part of the Brigadier his own. His presence is very effective, showing his trust in the Doctor and his own troops by letting them handle situations on their own. He's also a man of action, standing right on the front lines during the final battle with the Cybermen at the IE factory.
Most of the guest cast also turn in good performances, particularly Edward Burnham as Professor Watkins and Sally Faulkner as his slightly ditzy photographer niece Isobel, who teams up rather nicely with Zoe. Peter Halliday is also good as Vaughn's increasingly incompetent henchman Packer. Although many have cast doubt upon the credibility of Vaughn employing a fool such as Packer but surely Packer's ineffectiveness is only shown through the events in the story. He starts out well enough as a ruthless and sadistic character.
The Cybermen are at their most impressive, superbly designed, impervious to little other than artillery and armed to the teeth. By keeping the Cybermen in the shadows for so long also adds to their effectiveness when they are finally revealed, and the idea that they can be controlled by a device that generates emotional impulses is inspired. Given that they have very little dialog, they appear to be more creepy than ever before. Especially frightening are the scenes in which the Cybermen roam the darkened sewers, with the only illumination being the flashing lights on their chest units. Indeed, the story's most gripping cliff-hangers can be attributed to the Mondasian invaders—one of their number emerging from a cocoon; the rogue Cyberman advancing on Jamie, Zoe and Isobel; and the iconic moment when the cybernetic terrors emerge from the sewers, marching on the steps of St. Paul's Cathedral and through the streets of London.
The serials under director Douglas Camfield's helm always have such drive and excitement, and "The Invasion" is no exception. His work here is exemplary, again proving to be the perfect choice for this type of story, with its military aspects and heavy concentration on action, producing a highly enjoyable and suspenseful tale, which moves along at a nice pace and manages to sustain its nearly four-hour length. Also complimenting the story is the brilliant and highly memorable incidental score courtesy of Don Harper, making his one and only contribution to the series.
In all honesty I can think of very few negative aspects of the story—there are a couple of minor roles which aren't performed all that well, a few special effects that don't quite convince, and an action sequence or two that is talked about rather than shown on screen (the rescue of Professor Watkins, for example), but by and large these are easy to overlook.
All round, an impressive story, and a hugely important one in that it sets the scene nicely for the Jon Pertwee years to come.
"The Krotons" (4 episodes, 28 Dec 68 - 18 Jan 69)
Written by Robert Holmes
Directed by David Maloney
Patrick Troughton - The Doctor
Frazer Hines - Jamie McCrimmon
Wendy Padbury - Zoe Herriot
Robert Holmes, one of the greatest writers to ever work on the series, makes his début with a script he originally pitched to the Doctor Who production office back in 1965, only to have it turned down. However, script editor Terrance Dicks took another look at the story, and it was left on the backburner to develop and was very much needed when another adventure—Dick Sharples' "The Prison in Space"—fell through at the last possible moment.
Over the years, fans have built up a terrible reputation for "The Krotons", deriding it as nothing more than a near-clunker. This is rather sad as I think it's actually a neglected little gem. Admittedly, the Krotons themselves aren't the most dynamic of the series' monsters, but their crystalline nature is unusual and well thought out and they do present a few surprises—particularly when their heads begin to spin when the Dynatrope is under attack. Also of special note are their voices, which are impressive, malevolent and quite scary at times. Ultimately, it's the design of the creatures that lets the side down. They look rather good from the waist up, but the silver skirts concealing the bottom half are terrible and a clear sign of the budget running out. However, the concept behind them—feeding off the wealth of knowledge from the Gonds like leeches in order to acquire enough mental energy to escape the planet—keeps the interest level up, as well as providing them with a genuine motive.
Some of the guest performances fall flat—particularly Madeleine Mills (Vana)—but Philip Madok (destined for further memorable roles in Doctor Who) plays the part of Eelek—a selfish bastard who only thinks about himself and becoming leader of the Gonds—with great relish. James Cairncross is also good as Beta, with his joy at being allowed to mix sulfuric acid lovely to watch.
Best of all though are Patrick Troughton and his two co-stars. Again, Troughton steals the show and the implied rivalry between the Doctor and Zoe is enormous fun. Their clash of minds is hysterical, especially because Zoe is as intelligent as the Doctor but he is such a big kid he has to sulk every time he's forced to admit it! There is a real feeling of warmth between them as they try to earn the highest score in the Learning Hall and gain access to the Dynatrope, with both Troughton and Wendy Padbury playing their roles with wonderful humor and energy.
While Jamie doesn't have a great deal to do, he's certainly afforded some nice moments. There's the realistic fight where Jamie proves his strength and won't be pushed over. It is Jamie who grabs the Kroton gun and tries to destroy one of them. And Jamie who helps pour the jugs of acid over the Dynatrope. Frazer Hines is a regular treat and not just because he's sexy as hell, he makes Jamie inquisitive and sensitive, especially as he interrogates the Krotons in their ship. Experiencing the Troughton era again makes one realize just how much of a masculine presence was gained thanks to Jamie, and although future producers would favor the Doctor/female companion dynamic, it is worth noting that for three years the Doctor/Jamie relationship thrived, like two rambunctious little boys in a candy store they were let loose on the universe and proved to be an enormous success.
David Maloney's direction, which was so staggeringly amazing in "The Mind Robber", is rather hit and miss this time around. The story certainly gets off to a shaky start —the very first shot is of the scenery not actually working properly. But things rapidly improve, especially the sequences inside the Dynatrope, which are disturbing and filled with tension. It gives you a very real sense of having no idea what will happen next and the sudden emergence of a Kroton from the tank of bubbling liquid is very exciting indeed.
Although the Gonds are ever-so-slightly ridiculous, with their habit of referring to each other with the surname 'Gond'—giving the impression not so much of a civilization as one big dysfunctional Smurf family—it is easy to understand their confusion and pain when they realize they have been raised merely to be used by the Krotons for a purpose they don't understand. In a strong allegory of the student riots of 1968, the Gonds turn on the very way of life that had made them what they were, having reached the point where they believe they can now strike out on their own even though they have little direct chance of bringing about the changes they seek.
Despite the thoughtfulness that went into making the Gonds rebel against their oppressors, there are some weaker ideas in the story, such as the HADS (the TARDIS' Hostile Action Displacement System)—which everyone seems to always remember, but serves little purpose other than to create what could have easily been a cliff-hanger.
"The Krotons" is by no means a classic. There are some issues with the set design, model work and costumes—although Zoe's PVC jacket, matching miniskirt and knee-high boots are divine—and a certain character appearing in two places at the same time, but overall it is an intelligent, pacy adventure, boasting wonderful performances from Troughton, Hines and Padbury, interesting villains, and enough diversity amongst the Gonds to prevent them from becoming one-dimensional cardboard like the Dulcians from the same season's "The Dominators".
"The Seeds of Death" (6 episodes, 25 Jan 69 - 01 Mar 69)
Written by Brian Hayles, Terrence Dicks
Directed by Michael Ferguson
Patrick Troughton - The Doctor
Frazer Hines - Jamie McCrimmon
Wendy Padbury - Zoe Herriot
I have such fond memories of "The Seeds of Death". It was my first ever Patrick Troughton story—thanks to it being the first Second Doctor adventure ever released on VHS—and, like "The Krotons" before it, I think it's another underrated jewel in Season Six's crown. After their impressive introductory tale, the Ice Warriors were well deserving of a comeback, and here the Martian invaders return in another attempt to conquer the Earth. Their plan to use seed pods to destroy human life via humanity's latest technological marvel—T-Mat—is so simple and, yet, so devious.
In many ways "The Seeds of Death" can be considered a direct sequel to "The Ice Warriors", with T-Mat mirroring the Ionizer and its controlling computer from that earlier story. Even the supporting characters are similar—Julian Radnor (Leader Clent), Daniel Eldred (Scientist Penley), Gia Kelly (Miss Garrett). However, there are a number of added elements—including the base on the Moon and the Earth weather control station (both highly reminiscent of Season Four's "The Moonbase"), the two new classes of Ice Warrior (Warlord and Grand Marshal), and the alien fungus that threatens to sap Earth of its oxygen—to keep things different and interesting.
Patrick Troughton gives another stellar turn as the Doctor. Here he's bristling with suppressed f